Intentional Camera Movement
(Nikon D850, Tamron SP 24–70mm f/2.8 Di VC USD G2. RAW processing in DxO PhotoLab 2.3; Editing in Adobe Photoshop.)
More fine art photography at www.amagaphoto.com
Intentional Camera Movement
(Nikon D850, Tamron SP 24–70mm f/2.8 Di VC USD G2. RAW processing in DxO PhotoLab 2.3; Editing in Adobe Photoshop.)
More fine art photography at www.amagaphoto.com
Another fine addition to your collection.
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Thanks very much. This is one that I came back to several days later. A fair amount of subtle color tweaking went into this one in post processing.
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It’s always good to let passing time be of influence as we can get too personal with an image. Probably always a personal thing but a little easier to remove ourselves and let the image speak for itself which is kind of the opposite of what we hear an image should be. A little of both works well.
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Sooth.
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Yea, like it lot too.
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Thanks Paula.
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We hear talk of banding as a defect in a digital photograph. Here the many bands of color work well. The bands in the top half are concave up, those in the lower half concave down.
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Thank you. In this case, the banding is an effect of the intentional camera movement going across the clouds in the scene. The curvature is an effect of the approximately 160° swing in the movement. There’s one on my website where the banding is strictly a digital artifact, but it works well for the one image.
https://www.amagaphoto.com/portfolio/C0000FrL4JChJdck/G0000NRuHlEMp.PM/I0000z.77MAB1XXo
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I agree: it does work well for that image. That’s quite a collection of variations on a theme that you’ve got on your website.
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Thank you and thank you. Truly I have a fascination with ocean horizons. Good thing I live fairly close to the ocean.
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This is awesome 🙂
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Thank you!
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Layers of colors, amazing!!
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Thank you!
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So beautiful Michael, and you know the “Related” feature underneath that WordPress does? These four together are SUCH a pleasure. (In case you don’t see it the same way I do, I’m seeing this post along with “Unfinished Turner” , “Drawn Away 1” and “Drawn Away 2.” In this one, I especially like what the smudge of greenish color does towards the bottom to balance everything. I know you work hard on these – it’s certainly worth it! 🙂
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Thanks very much! The smudge is a feature of just this one frame. No one will ever see the forty or so that didn’t make the cut. I am aware of the “Related” feature and I tag posts to take advantage of it.
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That green smudge is a reflection: at least of sorts, and a lovely, convex mate to the concave bands above. After days of waiting for the association to surface, it finally came. Poet John Ashbery’s mostly opaque poem, “Portrait in a Convex Mirror” takes inspiration from the Italian artist Parmigianino’s painting titled Self-Portrait in a Convex Mirror.
The whole poem’s here, although I’ve never made it through the whole thing, and never would recommend it to anyone . If you want to give it a try, that’s up to you; I’ve always had trouble with Ashbery, and this one gives me a headache. But some lines from the first section really seem to match well with your photo:
Francesco one day set himself
To take his own portrait, looking at himself for that purpose
In a convex mirror, such as is used by barbers . . .
He accordingly caused a ball of wood to be made
By a turner, and having divided it in half and
Brought it to the size of the mirror, he set himself
With great art to copy all that he saw in the glass,
Chiefly his reflection, of which the portrait
Is the reflection, of which the portrait
Is the reflection once removed.
The glass chose to reflect only what he saw
Which was enough for his purpose: his image
Glazed, embalmed, projected at a 180-degree angle.
The time of day or the density of the light
Adhering to the face keeps it
Lively and intact in a recurring wave
Of arrival. “
That’s what I saw in the photo, and finally remembered: “lively and intact, in a recurring wave of arrival.”
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Thank you, Linda, I am very pleased that the photo made such an impression on you. It is my aim to create a lasting impression that viewers want to come back to repeatedly. Thank you very much for the attention spent on discovering this association. I do see the connection in the poem excerpt.
Mechanically, the concave/convex effect is a matter of physics/perspective in a wide pan in intentional camera movement. It would be very easy to correct in post processing, but I would be inclined not to do it for a single reason: many of my horizon photographs play on an apparent paradox between depth and flatness. If you look at them carefully, you will see in many of them an interplay between extreme sharpness and a definite lack of sharpness. This is intentional and is carefully crafted to draw the viewer in. Intentionally not correcting the curves in these ICM horizons is another way of doing that.
The green smudge is, in fact, a pool of light in the water where a spotlight was aiming into it. This was the only ICM pan out of about a dozen attempts where I managed to get it centered in the frame and get the effect that you see here. I wanted it for the exact reason that you stated: It was a reflection of and balance to the spaces and tones in the top half of the picture. A yin for the yang.
Based on your feedback, and the feedback of others, I believe this photo will end up on my fine art website.
Thank you very much for your interest and involvement.
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Yes, and love this too, especially those faint pink hues.
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Thank you. It took a lot of very subtle work to bring those out. The post-processing of this one was like trying to stay balanced on the head of a pin.
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